Word: noland
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Dates: during 1970-1979
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Johnson uses the conventional technique of stained acrylic on raw canvas, but his work stands in complete contrast both to the programmed geometries of Stella or Noland and to their opposites, the so-called "lyrical abstractionists." It is, to begin with, about specific images. A high-strung man, Johnson years ago and without drugs experienced what he refers to as a "spiritual crisis," accompanied by visions and hallucinations: vast primal shapes, cloudy or brilliantly lit, floating in deep space. "After that, I didn't paint for years...
...last year at 65, he left a body of work that seemed the epitome of aristocratic breadth and daring. Newman's canvases, with their engulfing fields of color traversed by vertical "zips," had become intrinsic to the look of American painting. Artists as diverse as Dan Flavin, Kenneth Noland, Clement Meadmore and Alexander Liberman had been deeply affected by the radical openness of his art and his brave, grumpy polemics. Granted obvious differences of context and emphasis, Newman's work had acquired much the same ethical role as Poussin's did for young painters in the 17th...
...painting like Untitled (Number 2), 1950, now looks like a singular prophecy of the stripe work that dominated New York galleries 15 years later; it predicts Noland all the way, from the long narrow format of canvas to the pure, hard-edged bands of red and black. (Asked if he had begotten stripe paintings, Newman replied with characteristic irony that "if I am the father, I never had the honor of knowing the mother.") But most Abstract Expressionists thought his work perversely formalistic. Its very muteness was an offense...
...vacant five-story sanitarium on Spring Street and turned it into a succession of mysterious caves lined with her black, white, gold and Plexiglas constructions. Roy Lichtenstein acquired one vast floor of a bankrupt bank on the Bowery (other floors were taken by Adolph Gottlieb and Barnett Newman). Kenneth Noland bought a storage building; Robert Rauschenberg, a flophouse-cum-church on Lafayette Street. The first artists' coop was set up in 1967 at 80 Wooster Street; by 1968, there were 15 such buildings, and there are at least 28 now. Today, a loft building that would have gone...
...minor elements in a work of art, tuned into equilibrium. This elimination of hierarchies had never been tried in sculpture before, though it was very much a feature of advanced New York painting in the early '60s-the striped patterns of early Stella, the symmetrical chevrons of Noland. So it seemed that Judd had contrived to declare in sculpture one of the basic attitudes of that mode of painting: its flatly declarative, unmodified, take-it-or-leave-it quality...